Portraits are fueled by two images. A self-image encouters a public image. In the best case, both images remain visible like in a double-exposed photograph they combine to form a third image.

The more I learned, with or without a camera about Holger Hiller, the more doubt I had in the concept of thinking his life in clear linear sections and retrospect explanations. In the assembly of the film I worked especially with the musical means of repetition and variation applied to text and picture/sound. Interwoven contradictions and seemingly clear things get combined into a polyphonic narrative. This also allows on the formal level to relate to the employment of the protagonist with music. This film made clear for me that life stories are not linear and that you can not reduce an individual to supposedly secure data if you really want to meet a person.